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古代曲家的“身份认同”是考察古代戏曲史的重要视角。古代文人涉足戏曲领域的不同身份定位,影响其戏曲创作与理论批评的心态和观念,并且呈现出戏曲发展史的阶段性特征。元代书会才人“行家”与“戾家”的身份区别,显示传统文人的优越心态和审美趣味。明代曲家自我身份的认定呈多元化倾向:立足文人“才士”的身份底色,或纠结于“名家”与“行家”的区分、或出现“专家”对“名家”的批评论辩,最终催生出“砚田糊口”的职业曲家。清代曲家则回归文人学者的正统身份,视“填词为文字之一体”。围绕古代曲家的身份认同及其观念阐释,贯穿古代戏曲发展史。
The “Identity” of ancient songwriters is an important perspective to investigate the history of ancient Chinese opera. Ancient scholars involved in the field of opera identity of different identities, affecting their creative writing and theoretical criticism of the mentality and concept, and showing the stages of the development of drama characteristics. The difference of the identities of the talented people “experts ” and “scholar ” in the Yuan Dynasty scholarly book shows the superior mentality and aesthetic taste of the traditional literati. The identification of the self-identity of the composer in the Ming Dynasty showed a tendency of diversification: based on the literary background of the identity of the literary man or of the “expert” or “expert” “Famous ” criticism, eventually gave birth to “Yutian life ” occupation song home. The Qing Dynasty songwriters returned to the orthodox scholars scholars identity, as “lyrics for one of the text ”. Around the ancient songwriters identity and interpretation of concepts, through the history of ancient drama development.